Tag Archives: compositing

In the last post, we talked about when you have something/someone you want to keep but something you don’t want, you put a green/blue screen to cover what you don’t want. You have to keep what you want in the range of green/blue screen so the vfx artists can use some keying tools to get rid the green/blue screen and then replace it with something else. But what if for some reasons you didn’t use a green/blue screen when you shot and now you change your mind and want to replace something in the shot? Or what if the actor moved too big of a range and some part of him was out of the green/blue screen and you didn’t notice? This is where roto is needed.

For most people, when they think about shooting for visual effects, they think about green/blue screen. Why use a green/blue screen and how does it work? In this post, we are going to talk about the reasons for use green/blue screen and what visual effects artists have to do after receiving this green/blue screen footage. For this post we will give you just a basic concept of blue/green screen, and we’ll go further into detail in later posts.

Most people think that vfx is the same as 3D animation. But the truth is compositing, which is in the 2D department, is the most common vfx. This technique is applied in almost every film. If the shot has 3D objects, compositing is the last step to put all the elements together. In many cases, compositors have to key all the green/blue screen, sometimes do the tracking, get all the different 3D elements from other team members, put those together and do all the necessary fixing and adjustments. This article will discuss what compositing can do.